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1st April 08, 07:44 AM
#1
I'm trying to imagine pas de basque or strathspey setting step in
"Sunday boots, which subsequently became their working boots"

a bit less graceful I should think.
Cheers
Jamie
-See it there, a white plume
Over the battle - A diamond in the ash
Of the ultimate combustion-My panache
Edmond Rostand
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1st April 08, 10:22 AM
#2
I must admit that "artificiality" definitely comes to mind with the SCDS. I say this as one who loves to dance.
There is even a group which meets blocks from my work place, and I've joined them for their Burns dinners. Maybe it's being a neophyte to their repetoire, but a good number of their dances give me pause about participating on a regular basis. The steps can be sooooo compicated!
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1st April 08, 10:49 AM
#3
 Originally Posted by Galician
I must admit that "artificiality" definitely comes to mind with the SCDS. I say this as one who loves to dance.
There is even a group which meets blocks from my work place, and I've joined them for their Burns dinners. Maybe it's being a neophyte to their repetoire, but a good number of their dances give me pause about participating on a regular basis. The steps can be sooooo compicated! 
At first it does seem a bit daunting. Once you get the basics down it isn't too hard. There is also a whole range of different dance in SCD. Some are very complicated and for advanced dancers while others are simple and easily learned. Oddly what makes a particular dance easy or hard isn't neccessarily the steps/moves but how they are arranged. I have done some beginner dances that were very hard because they din't flow well, yet I managed to get through an advanced dance like "Gang the Same Gate" several months back because each move flows well into the next.
Give it a try!
Cheers
Jamie
-See it there, a white plume
Over the battle - A diamond in the ash
Of the ultimate combustion-My panache
Edmond Rostand
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2nd April 08, 05:56 AM
#4
 Originally Posted by Panache
At first it does seem a bit daunting. Once you get the basics down it isn't too hard. There is also a whole range of different dance in SCD. Some are very complicated and for advanced dancers while others are simple and easily learned. Oddly what makes a particular dance easy or hard isn't neccessarily the steps/moves but how they are arranged. I have done some beginner dances that were very hard because they din't flow well, yet I managed to get through an advanced dance like "Gang the Same Gate" several months back because each move flows well into the next.
Give it a try!
Cheers
Jamie
In Spokane most of us are in our 60s. It's really good for us semi-seniors. Keeps the mind and the body working. Every now and then we have a dance and invite the contra dancers to come. What a difference to do contra dancing you don't need to think and only go around in circles. Nothing against contra, it's just to point out yet another advantage to SCD. Oh, yes, and in a kilt.
Past President, St. Andrew's Society of the Inland Northwest
Member, Royal Scottish Country Dance Society
Founding Member, Celtic Music Spokane
Member, Royal Photographic Society
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2nd April 08, 08:17 AM
#5
 Originally Posted by Panache
I'm trying to imagine pas de basque or strathspey setting step in
"Sunday boots, which subsequently became their working boots"
a bit less graceful I should think.
Well very different anyway. The Fletts found two different forms of the pas de basque (i) both feet remain on the ground for the final beat, (ii) the front foot is extended. Before 1914 (i) was by far the most common. The Fletts found no dancing master who taught version (ii) and many stated it was wrong. Version (ii) is what is taught today by the RSCDS. The steps are now more 'balletic' and are probably based more on highland dance steps than those used in country dances.
The Fletts go on to say there was no excessive pointing of the toes by either men or ladies. "The strathspey travelling step ... appears to be made possible by modern use of light heel-less dancing pumps ... and we never met it in older people". The present shoes seem to have come from those worn by highland dancers competing at games rather than social dancing.
Indeed their use for social dancing was deprecated by D. G. MacLennon in his "Guide to Teachers, Dancers and Judges" which set out the standards for Highland and Traditional dancing in 1925: "Another matter that should be discouraged is the wearing of solo dancers' stage pumps - heeless, thin soled. These 'slippers' were never worn by anyone in a ballroom as they are bad for flat feet and fallen arches."
I have certainly suffered from the lack of support in those shoes but, as in the case of the kilt, I don't intend to be put off by the historical inaccuracy. The lightweight shoes are needed for the steps as they are now done and I just enjoy the dancing.
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